“We make places of strangeness so we can facilitate a state of enchantment. This enables us to engage with our desires and fears in the safety of the magical unknown.” Kristina Andersen
The unseen world, invisible forces, forces of nature; currents, patterns, slipstreams, sound waves, seismic activity – and our body’s sensorimotor and psychological response to these systems, drive my current body of research and experimentation. The perception and translation of my environment through the body’s sensory systems, including what are often considered latent sensory systems is always at the forefront of my work.
My practice is heavily influenced by, and often refers to, the history of women’s body politics; mental health, domestic crafts, home-remedies and spiritualism: functioning as sites of slippage, subversion and rebellion.
I work across a range of mediums, and with an array of materials. I purposely culture serendipity within my practice to encourage participation from forces beyond my direct consciousness and control. My work is interested in the semiotics of the natural world, the endurance of the language of place and the body’s perception, reading and retelling of these ancient narratives.
My process engages with ideas centred around the act of ‘making strange’ or ‘magical,’ as a porthole for subconscious access as well as a platform for citing experiences of the ineffable. I often use natural or found objects which display what I or others consider animistic qualities, potency, or strangeness. In an attempt at culturing incidental or serendipitous results, ‘charged’ materials are woven in and out of various replicative devices. By blending ‘mean time’ with digital and analogue time, I hope to create an in-between space or ‘all-time’ where non-normative outcomes can be conceived and engaged.
A tree stump some believe shows an image of the Virgin Mary has attracted thousands of people to a rural churchyard in County Limerick
- Kristina Andersen, “Making Magic Machines or Practising at the Unknown”, Medea research centre, Sweden, 2012